"Form and function are one" - Frank Lloyd Wright
- 1. “Form and function are one” - Frank Lloyd Wright Subject: Product and furniture design Student Name: N.Pranavi B.Arch. IV/V 2nd Semester College of Architecture and Planning Acharya Nagarjuna University, Guntur, Andhra Pradesh, India
- 2. About the quote: Frank Lloyd Wright introduced the word ‘organic’ into his philosophy of architecture as early as 1908. It was an extension of the teachings of his mentor Louis Sullivan whose slogan “form follows function” became the mantra of modern architecture. Wright changed this phrase to “form and function are one,” using nature as the best example of this integration. Although the word ‘organic’ in common usage refers to something which has the characteristics of animals or plants, Frank Lloyd Wright’s organic architecture takes on a new meaning. It is not a style of imitation, because he did not claim to be building forms which were representative of nature. Instead, organic architecture is a reinterpretation of nature’s principles as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself.
- 3. FLW’s perception: “So here I stand before you preaching organic architecture: declaring organic architecture to be the modern ideal and the teaching so much needed if we are to see the whole of life, and to now serve the whole of life, holding no ‘traditions’ essential to the great TRADITION. Nor cherishing any preconceived form fixing upon us either past, present or future, but—instead—exalting the simple laws of common sense—or of super-sense if you prefer—determining form by way of the nature of materials...” — Frank Lloyd Wright, An Organic Architecture, 1939 Throughout his 70 year career, he published articles, gave lectures, and wrote many books. The philosophy of organic architecture was present consistently in his body of work and the scope of its meaning mirrored the development of his architecture. The core of this ideology was always the belief that architecture has an inherent relationship with both its site and its time.
- 4. What is ‘Organic architecture’ accd. To FLW Organic architecture involves a respect for the properties of the materials — you don’t twist steel into a flower — and a respect for the harmonious relationship between the form/design and the function of the building. Organic architecture is also an attempt to integrate the spaces into a coherent whole: a marriage between the site and the structure and a union between the context and the structure. When asked in 1939 if there was a way to control a client’s potentially bad taste in selecting housing designs for his Broadacre City project, Wright replied, “Even if he wanted bad ones he could find only good ones because in an organic architecture, that is to say an architecture based upon organic ideals, bad design would be unthinkable.” In this way, the question of style was not important to Frank Lloyd Wright. A building was a product of its place and its time, intimately connected to a particular moment and site—never the result of an imposed style.
- 5. What is ‘Organic architecture’ accd. To FLW In 1957, two years before his death, Frank Lloyd Wright published the book, A Testament, which was a philosophical summation of his architectural career. In an essay entitled “The New Architecture: Principles”, he put forth nine principles of architecture that reflected the development of his organic philosophy. The principles addressed ideas about the relationship of the human scale to the landscape, the use of new materials like glass and steel to achieve more spatial architecture, and the development of a building’s architectural “character,” which was his answer to the notion of style. The principles are: Building and site; Materials; Shelter; Space; Proportion & Scale; Nature; Repose; Grammar; Ornament; Human Values; Simplicity and Mechanical systems and functions
- 6. Books by FLW
- 10. (1) Solomon R. Guggenheim Museum – NYC – Frank Lloyd Wright (2) Aqua Tower – Chicago – Studio Gang Architects - Jeanne Gang (3) Performing arts centre – Abu Dhabi, UAE – Zaha Hadid (4) Izmir opera house – Turkey - design proposal – Nuvist architecture (5) Taichung Metropolitan opera house – design by Zaha Hadid Architects (6) Taichung metropolitan opera house – Taiwan – Toyo Ito – Actual design
- 11. Guggenheim museum//NYC// Frank Lloyd Wright
- 12. Aqua Tower// Studio Gang Architects//Jeanne Gang
- 13. Aqua Tower// Studio Gang Architects//Jeanne Gang // Chicago
- 14. Performing arts center // Abu Dhabi, UAE// Zaha Hadid Architects
- 15. Izmir opera house//design proposal//Nuvist
- 16. Taichung Metropolitan opera house //design for competition// Zaha Hadid Architects
- 18. Organic architecture In Furniture (1) The Dequan Li Attractor – Chair (2) ‘Munroe’ chair – Alexander White (3) Volu dining Pavilion – Zaha Hadid (4) Reception desk in airport – Neo-futuristic Architecture – Eero Saarinen (5) PONE Transparent Shell Exhibition space – Golden HO
- 21. Munroe chair // Alexander White
- 22. • An exploration of form and function through repetition, a quick glance and you can see how the design of the Monroe chair mimics the movement of the actress' dress when she stepped onto the subway grate. • The challenge was to create a single at shape containing the four main elements of an armchair. The back leg gradually morphs into the backrest into the armrest and then into the front leg. This design incorporates 83 matching components that swivel around a central axis. The result is a complexly curved and comfortable armchair. • Alexander White spent a number of years working with renowned artists and designers before setting up his own business. He started to with designing bespoke furniture for private clients and has worked on projects spanning various disciplines, from architecture and staircases to sculptures and furniture. Alex now also works for retail, as well as collaborates with design companies to produce new and semi-exclusive pieces - pushing his own and their capabilities. • Using modern technologies with CNC machinery, Alexander was able to replicate endless identical items, which is impossible by hand. The prototype for the Monroe chair was made using 19mm Supa-Wood with a primer and lacquer finish. Later designs feature plywood finished with a face on one side and maple on the other. • Alex values traditional methods of furniture manufacture and understands the importance of these as underpinning the way in which many furniture designers work today, but he believes that modern design has its benefits. "Limit yourself to certain processes and you are limiting yourself to certain types of outcomes" says Alex Munroe Chair
- 24. Volu dining pavilion // Zaha hadid
- 25. Volu pavilion Shape – Open clam shell Technique – Laser cutting Material – Perforated steel surfaces, aluminium box sections and timber loops Height – 3.2 meter; Area – 20 square meters “Designed by digital processes, the pavilion has been developed in such a way that its components are, at most, singly curved,” – ZHA team Made to appear – cut – out – from a single piece. "Comprised of a series of structural bands collecting at the spine and expanding overhead, the patterning of the pavilion is guided by the varied structural loading conditions," said the practice in a statement
- 26. Reception / enquiry desk //Neofuturistic Architecture // Eero Saarinen
- 27. Pone Transparent Shell Exhibition Space // Golden Ho
- 28. • The project started in October 2015 in Guangzhou and finished in December 2015, (P+ONE Design Centre) • Specifications: Width 7000mm x Depth 13000mm • Production/ technology: The main body of the device is made up of metal frames and a large number of irregular curved steels. Each of 30 arched frames is varying in its undulating rhythm, irregular and poly-directional. The curves in the helix were picked out for accurate radian in each segment so as to get the accurate nodes. Then, the 3-d coordinates of each node was positioned in the space, based on which another curve was made by stretching steel pipes. Then they were welded into groups for interconnection in groups
- 29. • Q: What is the main principle, idea and inspiration behind your design? A: Based on concepts, Transparent Shell gains inspiration from a rich variety of sequences in nature. By dissecting, extracting shell structure and restructuring, it reveals the tension of life evolution. Conch-shape helix is blended with vertical, balanced, stable and standard three-dimensional grid. • Q: What has been your main focus in designing this work? Especially what did you want to achieve? A: We mainly focus on how to building integration, make the city, the environment, and the space extend fuller interaction and blending. This is the thought about creating and recreating, create a "function with" space, visitors could feel free to imagine the meaning of various “shell” functions. • In the future design, PONE is tend to a strong personality narrative, a rich sense of material, plus the landscape like picture and delicate detail processing. • Q: How long did it take you to design this particular concept? A: Starting to built from November 2nd, 2015，until December 4th Guangzhou Design week begin, almost a week. Interview highlights with the design TEAM:
- 30. • Q: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration? A: In the exhibition area to show our design, we can present adequately and freely, full-bodied PONE’s design sense on this platform. Create a pace equipment like "performance art", the deep understanding inside to architecture through the three-dimensionally, we have tried. • Q: What made you design this particular type of work? A: Under the dual interaction between thought and space, there came into being a new type of experience in the Transparent Shell, which even surpassed the sense of reality brought by thoughts themselves. Therefore, Transparent Shell activated space behaviors from multiple thinking levels, discovered and explored the interactive space constructed by human beings and architecture and created behavior connection with new thoughts. • In the Transparent Shell, one could explore and walk around at will and imagine freely, during which one’s vision, audition and perception were aroused, thus realizing the infinite thinking within the architectural space as well as profound insight and awareness in a simple, natural and primitive way. • Q: How did you come up with the name for this design? What does it mean? A: Being translucent and unstable, spaces gleam with light and shadow and keep changing between appearing and fading. Multi-layer open combinations are the new representation and interpretation of internal and external open sites that interplay both inside and outside. • Based on concepts, Transparent Shell gains inspiration from a rich variety of sequences in nature. Transparent films are chosen to connect the interface of the shell.
- 31. • 2015 PONE ARCHITECTURE Experience Pavilion (Guangzhou Design Week) attempted to rediscover the alternating potential of order construction. • Q: What is the role of technology in this particular design? A: Test the connection order continually, Control the direction of silk and density, to achieve the ideal effect. • Q: Which design tools did you use when you were working on this project? A: Step 1 Base Laying: transparent films were used to twine keels so as to produce viscous adhesion layer. Step 2 silk stroking: the methods of rolled folding and stretching were employed to provide the ordinary electrostatic transparent films with a silk-like quality and flowing mercerization, thin but tenacious. Step 3 weaving: films were divided into groups. Through static electricity and viscous quality, the wire-drawing transparent films were woven, stretched and glued onto the base interface. In this way, a complete shell gradually came into being. The whole weaving process is like silkworms spinning cocoons. • Q: What did you learn or how did you improve yourself during the designing of this work? A: Actually, building is constantly changing, means you when moving the body will feel the different design. Experience the perspective of the overlap, the art, architecture, landscape combine into one structure, continuously into the crowd, listen their inner voices, with their own efforts to change now seemingly harmonious order.
- 32. Organic architecture In Products (1) Wooden Louvers (2) Compact kitchen furniture (3) Vitae bathroom design – Zaha Hadid
- 33. Wooden Louvers
- 35. Vitae bathroom design // Zaha Hadid
- 36. Organic architecture In other examples Geometric form / Organic Matrix Probiotics
- 37. Geometric form // Organic matrix
- 38. Probotics – futuristic example
- 39. --- Thank you---